Click on a title in the index below for a summary of the issue content. Click on the number at the left of the title to view the issue.Cliquer sur un titre dans l’index suivant pour faire apparaître un sommaire du numéro. Cliquer sur les chiffres à gauche du titre pour vous y rendre.

The ephemeral and varied character of subversion in musical creation makes it a challenging, complex concept to clearly define and illustrate. In this issue it is approached and reflected upon via a range of experimental practices with turntables, tapes and other devices, fringe genres, sound sculptures and alternative models of music distribution. (March 2015)

The seventh edition of TES brought together researchers and practitioners from diverse backgrounds to share and discuss their interrogations of the many diverse aspects of EA practices — from laptop orchestras to software development to interactive performance practices. TES 2013 co-presenters CEC and NAISA were pleased to welcome Francis Dhomont as keynote speaker. (December 2014)

The SI13 NTU/ADM Symposium on Sound and Interactivity in Singapore provided a meeting point for local researchers, artists, scholars and students working creatively with sound and interactivity, as well as the foundation for an issue exploring sound and interactivity in the Southeast Asian country. (August 2014)

Videomusic is a field of practice that could be seen as a subset of visual music, a term which can be considered today to be familiar enough to speak for itself. This broader area of artistic activity includes digital work, cinema, painting and visual “instruments”, and dates back at least to the 18th century. Editorial by Joseph Hyde (April 2014)

The CEC celebrated its 25th anniversary with a cross-Canada tour in late 2011. Comprised of more than 25 concerts, 10 seminars, over 2 dozen local presentations, masterclasses, colloquiums and more, the tour was a brilliant demonstration of the CEC’s on-going contribution to the support and development of Canadian electroacoustic art, culture and infrastructure. (March 2014)

Co-presented by the CEC and New Adventures in Sound Art (NAISA), the 6th edition of TES featured Trevor Wishart as Keynote Speaker. A selection of the creative and theoretical practices, collaborations and research of members of the international EA milieu is accompanied by several interviews and columns. (May 2013)

A spotlight on presentations from the 2011 Toronto Electroacoustic Symposium (TES). With Keynote Speaker Jonty Harrison and sessions grouped around such themes as creation, algorithms, listening, analysis, space and curation, the 5th edition of TES was co-presented by the CEC and New Adventures in Sound Art (NAISA). Several interviews complete the issue. (March 2013)

The idea of using the record player to create and compose music instead of only as a playback device characterizes the modern turntablism genre, but already appeared in the days of the phonograph. This issue looks at the turntable from an experimental performance angle, with historical as well as artistic contributions. (January 2013)

Biological technologies are computational systems driven by physiological and corporeal processes of the body. Endogenous mechanisms that would otherwise be imperceptible become manifest in the form of data. The field of biotechnological music performance is presented here through a set of fascinating articles describing heterogeneous methodologies and idiosyncratic musical ideas. (July 2012)

A panorama of the life and work of Harald Bode, the man behind what have long been household names in the electronic instrument industry: the Melodium (1938), Melochord (1947), Clavioline (1950s) and the Frequency Shifter in early Moog synths all bear the stamp of his celebrated designs and workmanship. (July 2011)

Articles presented at TES 2010 and further complementary articles addressing contemporary issues of performance, education and composition in the larger EA milieu, rounded out with interviews and chats with Canadian and international composers and performers. (June 2011)

Performing with live electronics as an interpreter is radically different than playing without electronics. In this issue we explore the performer’s perspective on such works, with articles by and interviews with pianists, composers, educators, sound engineers and directors. (April 2011)

For the 11th edition of the CEC’s annual Jeu de temps / Times Play project, which promotes the work of young and emerging Canadian sound artists, the CEC collaborated with the Australasian Computer Music Association (ACMA). (September 2010)

Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique

Exploring the various stages of appreciation of electroacoustic (EA) creation: from its reception in the concert hall to critical analysis to reflection on the impact of EA artists and their work on current and future EA creation. (August 2010)

Focussing on the 10th edition of the CEC’s annual Jeu de temps / Times Play competition, which promotes the work of young and emerging Canadian sound artists. This year, the CEC collaborated with Germany’s national electroacoustic association, DEGEM. The 2009 edition of the project was therefore open to young and/or emerging sound artists/composers from (or living in) either Canada or Germany. (September 2009)

Proceedings from the most recent Toronto Electroacoustic Symposium, TES 2009. The 2009 symposium was the most successful run of the annual event yet, with more music, more presentations and a solid turnout of EA artists, fans and teachers! (December 2009)

Open source and its application in the audio and sound world. The issue features an Open Source Travel Guide [wiki] and articles discussing the reasons why and the ways in which people and institutions are using and developing open source tools and environments. (September 2009)

This second issue focussing on Canadian electroacousticians presents an overview of the broad range of practices that have formed the Canadian electroacoustic landscape, one which is as vast and diverse as the geography of Canada itself. (July 2009)

A joint research project between Concordia University and the Canadian Electroacoustic Community (CEC). Coordinated by the CEC from July 2007 to December 2008, CAP has allowed for the recovery and digital archiving of a major collection of electroacoustic works from the 1960s—1990s held at Concordia University in Montréal. This important initiative, funded by Heritage Canada through Canadian Culture Online, has produced the largest single primary resource for the history of electroacoustics in Canada available anywhere in the world. (March 2009)

Over 100 interviews with a broad range of Canadian, American and European figures. An important reference concerning the technical, social and historical aspects of the larger realm of electroacoustic creation. (August 2008)

Articles, examples and discussions related to his experiences in mastering in recent years. Technical and professional implications feature largely in this issue, with a majority of the original content in French. (April 2007, English trans. Jan. 2008)

Reflections on teaching electracoustics and overviews of international institutions teaching EA are complemented by a bibliography ("essential reading list"), a list of films featuring EA, and a list of EA techniques linked to works using them in SONUS. (September 2006)

Articles from the 2nd Harvest Moon Conference in Montréal and articles related to its themes — multi-channel, multi-speaker and surround sound, spatial considerations of sound, the listener’s relation to the surrounding sound environment, and sound design in film. (June 2006)

Papers from the August 2005 In and Out of the Sound Studio Conference (Montréal) and articles and commentaries by Elizabeth Hinkle-Turner, Mary Simoni, Claire Piché, Hannah Bosma, Mara Helmuth… (March 2006)

The science of spatial perception and the acoustic characteristics of spatial hearing, with comparisons of several multi-channel diffusion systems — Acousmonium (Belgium), Cybernaphone (Bourges, France), BEAST (Birmingham UK) and the M2 system (Sheffield UK) — and their impact on performance considerations. (May 2005)

An overview of alcides lanza’s work, Marcelle Deschênes’ impact on Québec’s New Music and academic milieux, the instruments of electronic music pioneer Hugh Lecaine and reflection on the relation between technology and art via Gould, Le Moyne and de Chardin. (March 2005)

An analytical look at the scientific foundations of spatial hearing and perception, an historical overview of compositional perspectives on spatialisation from Vitruvius to modern-day, and the Butterfly Instrument, constructed for multi-channel diffusion. (December 2004)

About the Journal / À propos du journal

The CEC’s online journal of electroacoustics was launched in May 1998 as the successor to the print journal, Contact! (1988–97), and is published four times a year. Each issue focusses on a particular theme or topic, and Guest Editors have been invited to coordinate one issue per year since eContact! 7.x (2004–05). Articles, reviews, interviews, commentaries and analyses are featured in the journal, often supported by audio and video files. All issues are freely available to the public.